"I've been rocked out, I can't cool down. I've got a woman who still makes me crazy with the shake of her nightgown."
Born Against - Nine Patriotic Hymns For Children (1991)
&
Born Against - Battle Hymns of The Race War (1992)
Holy crap were Born Against ever good! If you haven't yet had the pleasure, I'd say they pretty much sound like the most pissed off band in the world. Sam McPheeter's vocals are the perfect combination of ferocity and snot. He reminds me of a combination between Rick Froberg and Clifford Dinsmore (not bad huh?) It's hard not to get stoked listening to "Well Fed Fuck," or "Murder the Sons of Bitches." The band just slays your eardrums with unmatched intensity. It is the sound of instruments and vocal chords being absolutely ruined. Chaotic, abrasive, love'em. If venomous blasts of aggressive hardcore don't happen to be your cup of tea ... well, you probably stopped reading this already. If you're down with this sort of stuff, you won't be disappointed. The sound on "Battle Hymns of the Race War," is a bit rougher but the material is consistently good.
An excellent companion to this record (2 records on vinyl, compiled on one CD) is "The Rebel Sound of Shit and Failure," compiling all the 7" and compilation tracks.
My favorite release of theirs has to be their split 7" with Screeching Weasel. The idea was to have each band write two sets of lyrics and then give them to the other band to write music for. So you get Ben Weasel singing in chirpy pop-punk fashion about the US government complicity in the El Mozote massacre in El Salvador, amidst choruses of "wuh-uh-ohs," on one side and McPheeters' blood curdling screams of, "Janelle! She's so swell!" over his band's special brand of violent noise.
As if that's not enough an it's own, SW do a cover of Frank Sinatra's "Chicago," and Born Against cover "The Jefferson's," theme. Fucking great! The Born Against tracks are available on "The Rebel Sound..." comp. Get that CD in addition to both of these records. "Battle Hymns of The Race War," and "Nine Patriotic Hymns For Children," are also available together on one CD for your convenience.
Minuteflag (1986)
The idea of Minuteflag is infinitely more interesting than the actual music. Black Flag and the Minutemen met with each other during the sessions for "Loose Nut," and "Project Mersh,"respectively and did one-off
collaboration, which they agreed would not be released until one of the bands had dissolved.
This, tragically, only took about a year as D. Boon was killed in a car accident.
All things considered, the album is steeped in a lot of mystery
Sadly, this disc is similar to other all-star jam session albums, in that the whole is far less than the sum of it's parts. Why anyone involved thought that this album even needed to be released is beyond my comprehension. Improvised guitar noodling, maracas, bongos, "bean-can," percussion apparently and general screwing around, with nothing halfway resembling a decent song. In total, fifteen minutes of nothing.
I understand the cache value of such a record as a novelty but I would be pissed if I had paid good money for it. Besides cashing in on the notoriety of both bands there is no excuse to take advantage of the consumer this way. No matter where it came from this is a piece of crap.
The idea of Minuteflag is infinitely more interesting than the actual music. Black Flag and the Minutemen met with each other during the sessions for "Loose Nut," and "Project Mersh,"respectively and did one-off
collaboration, which they agreed would not be released until one of the bands had dissolved.
This, tragically, only took about a year as D. Boon was killed in a car accident.
All things considered, the album is steeped in a lot of mystery
Sadly, this disc is similar to other all-star jam session albums, in that the whole is far less than the sum of it's parts. Why anyone involved thought that this album even needed to be released is beyond my comprehension. Improvised guitar noodling, maracas, bongos, "bean-can," percussion apparently and general screwing around, with nothing halfway resembling a decent song. In total, fifteen minutes of nothing.
I understand the cache value of such a record as a novelty but I would be pissed if I had paid good money for it. Besides cashing in on the notoriety of both bands there is no excuse to take advantage of the consumer this way. No matter where it came from this is a piece of crap.
Midget Handjob - Midnight Snack Break At The Poodle Factory (2000)
I get the impression that Keith Morris is an odd guy. Maybe it's his erratic behaviour, that lead to his exit from Black Flag, and decision to plagiarize "I Don't Care," maybe something to do with the story about him driving the Circle Jerks' van over a cliff the first time he was allowed behind the wheel or just his slightly strange manner of speaking.Maybe because he dropped out of sight for a bunch of years and then resurfaced with a huge rat's nest of dreadlocks on his head. Anyhow, Midget Handjob proves his strangeness beyond a shadow of a doubt. The record begins with an answering machine recording of Keith deking out of a recording session due to illness, with all the sincerity of a kid in Jr. High trying to play hooky. It's unusual that he says he is unable to do any "vocals," cause nothing resembling singing or Morris' classic snotty scream is there to be heard. What we have is Keith reading ... poetry I guess ... or spoken word over some sort of improved jazz complete with clarinet. I have no idea why someone would want to listen to this.
Embrace (1987)
So, the generally accepted story about Embrace goes like this; after Minor Threat call it quits, Ian MacKaye is upset with escalating violence within the DC hardcore scene he decides to form a band, backed by three members of the band "The Faith," that isn't fast or aggressive, and instead play that covey sadness and vulnerability. This completely fucks everyone up who came to the shows to dive in the pit and start fights. Ian not only made his point about misplaced aggression in the scene but started the genre that came to be known as "emo," or "post-hardcore," (yay!)
Okay, so that's cool and all and gives the album some historical perspective but looking back, the album doesn't sound as mellow as some of Fugazi's material. Later Minor Threat material was going in this direction anyway with the little spoken sections and a healthy dose of of self righteousness, evident here on "I Wish I," and "Money," (Materialism isn't cool? Okay - got it.) It sounds like a preachier Fugazi without the reggae influence or a slightly more melodic, later period, "Minor Threat."
Much in the same anyhow Samhaim sound like a cross between the Misits and Danzig because they filled the gap between those two bands, Embrace sounds a bit like both Minor Threat and Fugazu. Also like Samhain, Embrace is decent but not great.
Andy Kerr
Rob Wright
John Wright
Tom Holliston
Rob and Andy
Live In Warsaw Poland
Legends in Canadian punk rock, still relatively obscure outside of the underground scene, they are a musically accomplished, jazz-influenced prog-punk band that features the bass as a lead instrument and manages to be completely unique and experimental without being pretentious. There are bands who try to copy their sound but no one who really sounds like them and when you hear them, you know who it is from the first note. Always.
Who else could I be talking but NoMeansNo?
Formed in their hometown of Victoria, on Vancouver Island, the band was initially composed of brothers Rob and John Wright, Rob on bass vocals and occasional guitar and John on drums and keyboards. Rob eventually switched to bass, an instrument he not only mastered but went on to redefine.
The band began as a recording project in their parents basement and grew from there, incorporating guitarist/vocalist Andy Kerr, who played with John in the band "Infamous Scientists." Andy's style and tone pierces through thick bass chords with sometimes erratic bursts of noise.
went by deliberately vague pseudonyms on everything after "Sex Mad," and was never part of publicity photos. Kerr has been referred to as "Someone but we're not sure whom, " "None of your fucking business," "Buttercup," and as a set of open parentheses.
The band has since made a habit of releasing inaccurate publicity photos, featuring either people not in the band or humorous photographs with 3 characters.
They gained a huge following in Europe and eventually one of the most influential and sought after touring bands. After releasing their seminal recording "Wrong," and rising to levels, thought unimaginable, the band released one more record with Kerr, as well as a collaboration with Jello Biafra. Andy relocated to Amsterdam and got married.
The band made one record featuring Rob on guitar, then brought in Tom Holliston of Show Business Giants and Hanson Brothers (among others.)
The band again rose to astounding levels of success, headlining the Roskilde festival over Peter Gabriel due to the cancellation of former headliners Sepultura.
The band has been putting out records and playing shows steadily with no signs of slowing down for going-on thirty years, still continuing to put out new music that tests their boundaries and challenges the listener.
John Wright
Mama (1982)Piano, sythns and occasional minimalist guitar lines fill in the gaps but the rhythm section is the band. Unless you were one of the lucky few to purchase the original LP, you're likely to hear the remastered re-release that came out on Wrong Records in 1992. The record is more of a treat for fans to see the origins of the band's sound, than a worthwhile listening experience in it's own right. Songs like "My Roomate Is Turning Into A Monster," "No Sex," and "Forget Your Life," are standouts but this should only really a finishing touch for someone's NoMeansNo collection not a good introduction. As the cliche goes, "it only hints at the greatness to come."
You Kill Me (1985)
The addition of Andy Kerr on guitar was a quantum leap for the band's sound. His jagged, abrasive, guitar strangling perfectly contrasts and complements Rob's driving bass and his vocals fit in seamlessly, like a third brother. The sinister "Bodybag," is an enduring classic and their take on Hendrix's "Manic Depression," definitely makes it their own. Andy sings most of the songs but John Wright really takes centre stage, anchoring the breakneck tempo changes and quirky time signatures and, in the process, establishing himself as one of the best drummers in punk. Raw aggressive and energetic. Sex Mad (1986)
The second full length establishes Rob's unmistakable bass tone and cements Andy's guitar sound, setting the tone for the rest of their career. The album features one of their all time best songs, "Dad," a horrifying, emotionally draining listening experience that, nonetheless, makes you want to jump up and down. Rob's very dry statement, "I'm seriously considering leaving home," at the end is an absolutely perfect and necessary, tension reliever at the end. Lyrics on songs move from personal ("Dad," "Self Pity,") to abstract ("Hunt The She Beast,") to dark humor and then back back again. The band lurches back and forth at blistering speed, the epitome of tight and creative musicianship. The frantically shouted acapella "No Fcuking," frenziednoise, danceable rhythms, black humor, intelligent songs and danceable rhythms. It can safely be said that no one had ever heard anything like this before and honestly, to this day no one ever has.
If you're looking for the birth of math rock this is it. With "Sex Mad," NoMeansNo created the first prog-punk masterpiece. 
The Day Everything Became Nothing (1988)
This EP shows the band, constantly charting new musical and lyrical territory, this time with longer songs and arrangements that are more restrained but only to the band's previous two records.
The bizarre narrative over the title track's driving bass line showcased their bizarre sense of humor while still conveying a sense of uneasiness and dread.
"It's weird being a Bob but I'll get used to it. I have to."
This EP shows the band, constantly charting new musical and lyrical territory, this time with longer songs and arrangements that are more restrained but only to the band's previous two records.
The bizarre narrative over the title track's driving bass line showcased their bizarre sense of humor while still conveying a sense of uneasiness and dread.
"It's weird being a Bob but I'll get used to it. I have to."
"Forget Your Life," is an updated version of one of their earliest songs. and heavy deliberate trudge, made even heavier.
"Beauty and The Beast," employs the demented disco beat they have used so effectively throughout their career on songs like "Big Dick."
The other more, well-known track , "Brother Rat/What Slade Says," happens to not be one of my personal favorites. One of their most diverse records.
Small Parts Isolated and Destroyed (1988)
Another album featuring a disproportionate number of tunes sung by Andy Kerr (Rob Wright was suffering from vocal nodules at the time.) It shows the band at their tightest and most "prog." The sound isn't as raw as "Sex Mad," but the arrangements are still chaotic. The tops and starts of "Small Parts," highlight their impeccable timing and John Wright's drumming on "Theresa Give Me That Knife," is unreal. It's the choruses and hooks of "Dark Ages," and "Victory," that make them the stand-out tracks on the album. The band would combine these two elements to better effect on later efforts.
Musically one of their most complex and impressive, "Small Parts," has it's moments but song-wise it's not their most accessible or best.
It serves mostly to showcase an insanely tight machine at the height of their instrumental prowess.
Another album featuring a disproportionate number of tunes sung by Andy Kerr (Rob Wright was suffering from vocal nodules at the time.) It shows the band at their tightest and most "prog." The sound isn't as raw as "Sex Mad," but the arrangements are still chaotic. The tops and starts of "Small Parts," highlight their impeccable timing and John Wright's drumming on "Theresa Give Me That Knife," is unreal. It's the choruses and hooks of "Dark Ages," and "Victory," that make them the stand-out tracks on the album. The band would combine these two elements to better effect on later efforts.
Musically one of their most complex and impressive, "Small Parts," has it's moments but song-wise it's not their most accessible or best.
It serves mostly to showcase an insanely tight machine at the height of their instrumental prowess.
Wrong (1989)"Two Lips Two Lungs & One Tongue," and the Hanson Brothers style style "Oh No, Bruno," are all here. The logic continues that the average fan isn't discerning or sophisticated enough to appreciate the more progressive material, found on "Sex Mad," for example. I reject this notion. My favorite songs on the album are "It's Catching Up," "The Tower," "All Lies," and "The End of All Things."
The last two songs are a couple of the most emotional and heart-wrenching I personally have heard, and if the songs are more concise it's not an issue of their length, it's that nothing is wasted. The songs fit together seamlessly and the energy sizzles.
This is the sound of a band clicking on every level. They sound lean and mean but are at their most passionate, moving energetic and thought provoking. It is their best record. It is one of the best records.
The Sky Is Falling And I Want My Mommy (1991) The Biafra collaborations seem to have been a double-edged sword for D.O.A. and NoMeansNo, expanding awareness internationally but without being especially representative of the band's sound. NMN are relegated to the part of backing band and it's an awkward marriage of uninspired NMN material and Biafra's very wordy lyrical compositions. "Ride The Flume," is a standout, not coincidentally one of the few songs without a political bent. Biafra's apparent need to make the Hanson Brother's song "Bad," more socially relevant by adding extra lyrics is annoying, but it's still one of the better tunes on the record. Of course you could just get the Hanson Brothers album instead, which would be my recommendation.
0+2=1 (1991)
Generally regarded as a disappointment, this turned out to be Andy Kerr's farewell record before leaving the band, and North America, entirely. Indeed it's one of the least memorable NMN records but the biggest thing it had going against was following their biggest critical and commercial success (Wrong.) Regardless, it still may not have been a standout in their catalogue. We'll never know.
The album opener "Now," is plucky and memorable and "The Fall," has become a semi-regular live staple. Rob's lyrics seem more difficult to dechipher, maybe because the music is less complex, shifting the focus to the words or maybe it's the frantic pace at which the words are spit out. The songs are less memorable and more difficult to sing along to. Even at their most abstract, there was a general sense of what past songs were about, but "0+2= 1," and, "Mary," go over my head, honestly.
Every song still has some redeemable part, but at it's worst - the almost 8 minutes of "Ghosts," for example- it can be a bit tedious. On every previous record (and each subsequent one) there are songs that stand out and grab you instantly and others that need repeated listens to appreciate. This record has almost none of the former and all of the latter, making repeated listens less desirable.
The album opener "Now," is plucky and memorable and "The Fall," has become a semi-regular live staple. Rob's lyrics seem more difficult to dechipher, maybe because the music is less complex, shifting the focus to the words or maybe it's the frantic pace at which the words are spit out. The songs are less memorable and more difficult to sing along to. Even at their most abstract, there was a general sense of what past songs were about, but "0+2= 1," and, "Mary," go over my head, honestly.
Every song still has some redeemable part, but at it's worst - the almost 8 minutes of "Ghosts," for example- it can be a bit tedious. On every previous record (and each subsequent one) there are songs that stand out and grab you instantly and others that need repeated listens to appreciate. This record has almost none of the former and all of the latter, making repeated listens less desirable.
Why Do They Call Me Mr. Happy? (1993)I remember reading an interview with Tom Holliston where he said his favorite NoMeansNo record was "Mr. Happy," and wondering if he'd accidentally inhaled paint fumes or something. I mean, there are some great songs but come on ...
With my most recent listen I can appreciate where Tommy is coming from. I sang along with pretty much every song, in stark contrast with the previous album where I could barely remember any at all.
"The Land of The Living," is a killer opener which may actually have more cool hooks by itself than the entire previous album. Next, I can't possibly overstate what an amazing song, "The River," is. It's the sort of song that makes each individual hair on the back of your neck stand on end, and actual tears well up in your eyes as you are irresistibly drawn into the pit. The cascading waves of bodies rising and falling, as the mass of sweaty bodies moves in time to the song's hypnotic drum beat is one of the most intense experiences in music. "Kill Everyone Now," has a killer driving riff but could have benefited from trimming at least 2 minutes, mostly around the middle section. "Lullaby," "Madness and Death," and especially the album closer "Cats Sex and Nazis," are all high points. As a side note, it's interesting to think that much of the record-buying public may have been unaware of Andy Kerr's departure due to his relative absence from album credits. The guitar credited to "Mr. Happy," is played by Rob Wright, who does just fine thank you very much.
Mr. Right & Mr. Wrong: One Down and Two To Go (1994)
A real hodge-podge of left-over material from old demos, "Mr. Happy," outtakes a fewnew recordings and various other goodies. "This Wound Will Never Heal," is one of the best songs the band has done and would have been a great addition to "Mr. Happy." "Widget," is another cool tune that ended up on the cutting room floor (so to speak) for that record. "Red on Red," and "Who Fucked Who," are new compositions that are totally excellent, straught-for-the-jugular tunes.They also throw in an amazing cover of the Kinks' "Victoria," by their alter-egos the Hanson Brothers and a cover of "Real Love," by the band "Swell Prod."
The demo material is pretty primative sounding, featuring keyboards as the most prominent instrument. "Canada Is Pissed," is a pretty cool old song. Worth checking out.
A real hodge-podge of left-over material from old demos, "Mr. Happy," outtakes a fewnew recordings and various other goodies. "This Wound Will Never Heal," is one of the best songs the band has done and would have been a great addition to "Mr. Happy." "Widget," is another cool tune that ended up on the cutting room floor (so to speak) for that record. "Red on Red," and "Who Fucked Who," are new compositions that are totally excellent, straught-for-the-jugular tunes.They also throw in an amazing cover of the Kinks' "Victoria," by their alter-egos the Hanson Brothers and a cover of "Real Love," by the band "Swell Prod."
The demo material is pretty primative sounding, featuring keyboards as the most prominent instrument. "Canada Is Pissed," is a pretty cool old song. Worth checking out.
The Worldhood of the World (As Such) (1995)
This curiously titled album marked Tom Holliston's debut on guitar. It's often compared to The Hanson Brothers, who were for a time more active than NoMeansNo and actually had a short-lived major label deal.The warmer, brighter sounds of barre-chords from Tommy's SG were a sharp contrast to Andy's jagged hack and slash Tele lines. While the album still deals with dark subject matter, the more complex vocal melodies and three-part harmonies make the sound less stark and more accessible. The fat is also trimmed off of many of the numbers and, while studio multi-tracking is a bit more evident, the production falls short of slick. "Angel or Devil," "I've Got A Gun," and "Tuck It Away," could have easily started as Hansons' songs and even the very un-Hansons-like "Victim's Choice," contains Tommy's signature "1-2-3-4!"
"My Politics," is one of my favorite tunes and one that seems to be overlooked and hardly played live. "State of Grace," "Lost and "He Learned How To Bleed," are closer in style at least to much of the material on "Wrong," if not some of their more experimental releases. These also benefit from the built up background vocals. The band wouldn't stick with this sound for very long, and continued to change with each subsequent record. This may be owing to the increased amount of time between later releases. All in all, this record rates of one of their better later albums.
Would We Be Alive? (1996)
It would be a shame if some record buyers made the same mistake I did and overlooked this EP. Most often, releases like these just serve as stop-gaps between major releases and consist of B-grade outtakes. Plus CD EPs are generally a rip off but I think this one includes some of their stronger newer material. The guitar has a heavy, crunchy quality absent in other releases, where the bass also may not have left much room. "Would We Be Alive?" (A Resident's cover) "is well done You Are Not One," and "Rise," are all great songs with the straightforwardness of the best of "Worldhood," but with some added intensity. Check it out if you haven't. "In The Fishtank," is an EP which leaves out "Rise," and includes live in the studio versions of "The River," and "Joy," which sound good but aren't necessary. I find that "Joy," really loses something when it doesn't immediately burst into "Humans." I should also note that these two songs are the only studio recordings with Ken Kempster as second drummer. Tom didn't appear on the original recording as he wasn't in the band yet. Personally I like the "Mr. Happy," version more with the little keyboard swells but I may be in the minority as the version included here is the one that made their greatest hits CD.
Dance of the Headless Bourgeoisie (1998)
There is a much darker tone to this record and this, along with longer songs makes for a sometimes daunting listen. Musically it's a return to more complex riffs and drum parts. The plodding doomsday dirge of "The World Wasn't built In A Day," is almost a companion piece to "the Day Everything Became Nothing," and is one of the stronger tracks (I thought it came off pretty well when I saw them play it live too.) Opener, "This Story Must Be Told," still conveys a somber tone, but over an almost bouncy rhythm. The mood ranges from the irreverent pessimism of "I'm An Asshole," a live favorite and "I Can't Stop Talking," to the downright grim. Rob demonstrates that he hasn't mellowed with age as he absolutely shrieks with malicious glee during the incredibly over-the-top title track. It's something worth listening to at least once but I can't say it's a great song. Regardless, it's probably the most intense and unsettling vocal performance of Rob's career. I can safely say it's the only tune I've heard from the perspective of someone who's kidnapped someone else's family and tied sticks of dynamite around their heads with duct tape. Isn't that from one of the "Saw," movies or something? "Disappear," is another dour standout track.
Tom Holliston's guitar is pushed to the background, not by the mix so much as by a lack of presence. There aren't a ton of really strong guitar lines on the record, perhaps due to a bit of an adjustment in style for Tom or simply because, the bass lines just take up a lot more space. "The Rape," and "Give Me The Push," are two of the easier listens, but are stuck at the end. The down tuned, sludge of album closer, "One Fine Day," states, "I'm all right, I'm alive," but convinces no one and is obviously meant to convey the opposite. There are many
Tom Holliston's guitar is pushed to the background, not by the mix so much as by a lack of presence. There aren't a ton of really strong guitar lines on the record, perhaps due to a bit of an adjustment in style for Tom or simply because, the bass lines just take up a lot more space. "The Rape," and "Give Me The Push," are two of the easier listens, but are stuck at the end. The down tuned, sludge of album closer, "One Fine Day," states, "I'm all right, I'm alive," but convinces no one and is obviously meant to convey the opposite. There are many
One (2000)
There seems to be no consensus on the name of this album. It is referred to alternately as "One," "No One," and even "NoMeansNo One." I'm not sure if it has been settled or not.Rob doesn't seem to have cheered up much since the last record but now instead of venomous and maniacal he sounds more despondent. The muscular, driving riffs remain but there is more of a tone of sadness with more attention paid to harmony and melody. The sound is less sparse and more tuneful . The ominous tone of songs like "Our Town," paint a stark portrait, the unifying theme is seemingly despair. The narratives take on more of a film noir feel of storytelling rather than an outward expression of rage. Robseems more emotionally detached at times, although he seems to enjoy cutting loose with some play acting on "A Little Too High." After all these years the it's interesting to see how the band continues to challenge themselves and the listener by move in different directions.
Less malice and more brooding and depression than "Bourgeoisie." The record seems to be most remembered for the covers of Miles Davis' "Bitches Brew," featuring lyrics by Rob, and The Ramones "Beat on The Brat," (slowed to a deliberate near dirge.)
Generic Shame (2001)
"Sex Is Philosophy," is an interesting dialogue on porn (and rape I suppose) as well as violence in general. Unfortunately the main riff is a bit too similar to Magedeth's "Symphony of Destruction." ("Dun-unt dunt dunt, Da-dun-unt dunt dunt.") It's thought provoking anyhow.
"No Big Surprise," meanders a bit but it's still good but probably a good choice for a B-side. The best part is the end when Tom Holliston starts playing "Walk This Way," over the main bass riff, which sounds similar. Notice a pattern?
"I Get Up In The Morning," is straight-up ska weirdness and it's actually demented enough for me to like it. Their sense of humor seems to still be in tact after all the black material of the last few years. Bottom line; this is an album of non-essential "One," session outtakes and probably only for completists.
"Sex Is Philosophy," is an interesting dialogue on porn (and rape I suppose) as well as violence in general. Unfortunately the main riff is a bit too similar to Magedeth's "Symphony of Destruction." ("Dun-unt dunt dunt, Da-dun-unt dunt dunt.") It's thought provoking anyhow.
"No Big Surprise," meanders a bit but it's still good but probably a good choice for a B-side. The best part is the end when Tom Holliston starts playing "Walk This Way," over the main bass riff, which sounds similar. Notice a pattern?
"I Get Up In The Morning," is straight-up ska weirdness and it's actually demented enough for me to like it. Their sense of humor seems to still be in tact after all the black material of the last few years. Bottom line; this is an album of non-essential "One," session outtakes and probably only for completists.
All Roads Lead To Ausfahrt (2006)
The title references an old joke for travelers in Germany - that "Ausfahrt," is the biggest town in Germany because everywhere you go on the highway you see a sign pointing to it. "Ausfahrt," of course, means "exit," which is why you see the signs on every road. The opposite, in case you were wondering is "Einfahrt," which means entrance.
With that out of the way, this record features shorter, faster more direct "punk," songs, again comparable to The Hanson Brothers at times. "In Her Eyes," "Mr. In Between," "Faith," and "Ashes," are good enough to stand beside any of their past releases. Like "Dance of The Headless," the unpleasantness of some of the lyrics ("Mondo Nihilissmo 2000" and "I'm Dreaming,") overshadows the more memorable songs. There's a bit of a theme developing re: killing or molesting kids as Rob's sense of humor has gotten blacker over time. Maybe I don't get it. An energetic album with many highlights
It's getting even longer between releases for NoMeansNo, which may lead to speculation that each subsequent record is their last. This record is different because it's harsh neither musically nor lyrically. Later day material has been either grimly serious ("One," album, "Sex Is Politics,") or full of morbid humor (the "Ausfahrt," songs mentioned above, "Bourgeoisie.") The band hasn't done anything quite as quiet or restrained since, perhaps, parts of "Mama." "Faceless May," is eerie, yet subtle with the hushed tone of a ghost story. The rhythm of, "Something Dark Against Something Light," is completely hypnotic. The scowling cynicism of the past few outings isn't really missed. Nobody will claim that "Faceless May," is in league with the band's best but feels like exactly the right record at the right time.
